Two styles of these paintings may be distinguished; one in which the five crosswise fields are so treated that the patterns on the three central rectangular fields (2, 3, 4) are at right angles to those in the two extreme fields (1, 5). In the central fields the long sides of the rectangles run parallel to the narrow side of the hide and in the outer ones, the rectangles are turned so that the long sides are parallel to the long side of the hide. The central lengthwise field extends only over the three middle fields and is very narrow (figs. 14, 144, _a_, _b_). The only ornament on fig. 144 _b_ is the rectangle with two obtuse triangles facing at the apex. To the four rectangles on 2, 3, 4 correspond four corresponding ones in the fields 1 and 5. In fig. 144 _a_ there is an alternation of two designs in these fields. There are two triangles with protruding lines with complex frames, and rectangles with the obtuse triangles transformed into segments. The central dividing line in these rectangles is missing. It will be noticed that here also the number of rectangles in the three inner fields (2, 3, 4) corresponds to the number in the outer fields (1 and 5), but their order is reversed. Left and right triangles in the outer fields (1 and 5) are also in reverse positions. The narrow central field is occupied by a single acute triangle. In fig. 145 _b_ we have a similar arrangement, but in place of the rectangle with obtuse triangles, we find a new arrangement of acute triangles. Fig. 14 (p. 27) differs from those just described in that the central field is divided into two divisions instead of four. The obtuse triangles in the four corners are treated somewhat differently and the figure between them in the middle of the short side is treated as though the essential design were the diamond, not the obtuse triangle. The heart shaped design and the star like figures give the impression of a new development of older patterns. [Illustration: Fig. 146. Painted rawhides, Sauk and Fox.]